Jaime Vendera - The Ultimate Breathing Workout

THE ULTIMATE BREATHING WORKOUT

BY

JAIME VENDERA

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Copyright… Copyright ©2004, by Jaime Vendera/Vendera Publishing. Printed in the U.S.A. All rights reserved. No part of this book may be reproduced in any form, by any means, electronic or otherwise, including photocopying, scanning, downloading, or by any data storage system, without written permission from the publisher. The Voice Connection Vendera Publishing ISBN: 978-0-9749411-4-1 Cover Design: Molly Burnside Illustration: Howard Turner Editing: Stephanie Keen Typesetting, PDF conversion: Neil Tarvin Machine Gunn Eddie used by permission Machine Gunn Eddie © 1989 Written by Jim Gillette and Michael Angelo Published by C U At The Top Music, Inc. (ASCAP) Other books by the author: Raise Your Voice © 2003 Jaime Vendera/Vendera Publishing

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Table of Contents… Copyright… ................................................................. 2 Table of Contents…..................................................... 3 Dedication… ................................................................ 4 Foreword… .................................................................. 5 The Basics… ................................................................. 9 The Routine… ............................................................ 23 The Secrets….............................................................. 45 The Chart… ................................................................ 61 The End…................................................................... 73 About The Author…................................................. 75 Thanks…..................................................................... 79

Special Note! To Access the audio files, go to http://www.thevoiceconnection.com/breathefree.html 

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Dedication…

This book is dedicated To my beautiful wife And soulmate, Diane You Breathed Life into Me

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Foreword… The power of the voice is astounding. You possess the most powerful, individualized, unique instrument ever created. The power of the voice can command the attention of thousands and exhilarate a nation. The voice can invoke every emotion imaginable; it can energize the soul, or bring a person to tears. But, the intense energy of the voice cannot be brought to life without the initial spark…the breath... The breath can give life to a singer’s voice, and it can as easily take it away. This depends entirely on each individual singer’s interpretation of breath technique. And…the interpretations are many. How can something as simplistic as the breath be so misunderstood? That’s what I decided to find out…

Do you think you could hold out a note for over a minute?

When I first wrote Raise Your Voice, I had designed what I considered the most completely developed and informative vocal training manual I could ever possibly want. Since that time, I have spent countless hours studying vocal techniques. 5

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And still I continue to search for new material each and every day. This has granted me the opportunity to expand my vocal expertise. Some areas of my expertise I took for granted… I have been blessed with the ability to hold out notes for what seems like an eternity. Whenever I perform, I am always asked the same question: “How do you hold out your notes that long?” I always tell them the same few answers. “Practice, practice, practice,” and, “If you follow the vocal training program from my book, Raise Your Voice, you can achieve the same results.” Although I stand by the breath training methods in Raise Your Voice, I have re-discovered a series of techniques guaranteed to improve your breathing. How would you like to be able to sustain notes for thirty seconds or longer? Do I have your attention? If you are a fan of my website, The Voice Connection, then you probably know that I attended The Vocal Institute of Technology at the Musician’s Institute, in Hollywood California.

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One day as I was skimming through my old V.I.T. notebooks, I stumbled across a breathing program I had totally forgotten about. This simple program was presented to me from Bryan Kelly; one of my vocal teachers from V.I.T. Bryan is the brother of the late Tim Kelly, guitarist of Slaughter. It was rumored to be the breathing program that Geoff Tate, lead singer of Queensryche, had used to help develop his incredible voice. I have yet to find out if this is true, but if you listen to the beginning of the song, “Queen Of The Ryche”, you’ll know that if it is true, it definitely worked. This breathing program originally consisted of four specific exercises, but I’ve turned this simple four exercise set into a full blown nine step breathing Breathing is workout! the foundation of singing!!!

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Get Ready To Breathe Are you ready to take the Vendera Breathing Challenge? I dare you – no, I double dare you – to try this program for three months, like I originally did and chart your progress. I can almost promise that your sustain time will double, possibly even triple in length. Not only will your breath capacity increase, but your voice will become stronger as well and the quality of your voice will improve. By developing proper breath technique, the quality of your voice will dramatically improve and the chance of vocal strain will drastically diminish. Correct breathing is the foundation of a strong and healthy voice. So let’s quit wasting time and get on with the show.

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The Basics… Before we delve into the exercises I think we all need a refresher course in Breathing 101. Do you know the correct way to breathe as it is applied to singing? Do you consider your self an excellent breather? Let’s find out. Learning To Breathe Again Sing from your diaphragm, tighten your stomach, raise your chest, push your stomach out, tighten your butt cheeks, push the breath out… I’ve heard kazillions of explanations on how a singer should breathe, and tried too many outrageous breathing methods to mention. It’s enough to drive you nuts. I think it did drive me nuts. But facts are facts…Breathing is natural and should be effortless!!!

Breathing is natural and should be effortless

The main objective of this program is to help you develop correct breath technique. When you develop correct technique, you’ll learn that both low notes and high notes require very little breath to sustain them.

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You’ll develop breath control that will prevent you from singing too breathy or pushing too hard, and you’ll eliminate the vocal strain that’s associated with poor breathing habits. Are you ready to learn? You better pay attention… I want you to start by looking into a full sized mirror where you can study your physical reactions as you try this experiment. Okay, are you looking at yourself in the mirror? Are you ready? Do you want me to shut up? All right, all ready! Here we go. As you are watching yourself in the mirror, I want you to take the biggest, deepest breath you ever have, as quick as you can. Now tell me, what changed? You were watching yourself, right? Try it one more time; only this time, pay closer attention. Did you happen to notice any part of your body moving? What changed? Did your shoulders rise up? How about your stomach? Was it expanding? Did your chest expand? Did your ribs or back expand?

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These are all good questions to ask yourself as you inhale. Now, I know I wasn’t there, looking in the mirror with you, but I’ll lay money on it that at least 75% of you expanded your chest and allowed your shoulders to rise. What’s wrong with this? EVERYTHING. This is the #1 totally incorrect way for singers to breathe. Unfortunately, it is the breathing pattern that the majority of us have developed out of habit.

Allow your abdomen, back, and ribs to expand outward

The correct, natural way to breathe is by allowing our abdomen, back, and ribs to expand outward. It is the way GOD intended it. Just watch a baby breathing while lying in a crib. Notice how their little bellies rise up and down with every breath they take. For fun, let’s try it ourselves. No, I don’t want you climbing into a crib. I want you to lie down on the floor, flat on your back and slowly breathe in through your nose and out through your mouth. As you breathe in through your nose, concentrate on making your stomach rise.

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If you are having trouble making your stomach rise, try putting a book on your stomach and force it to rise as you inhale. See how easy that was? Now stand up and try it again. Not so easy, is it? Abdominal breathing takes a little getting used to, but you’ll get the hang of it. What Works Where? A lot of teachers preach diaphragmatic breathing, but do you have any clue what they are talking about? Let’s start by learning a thing or two about breathing anatomy. When you breathe in, the air flows into the mouth, down the trachea, or more commonly called the throat, and into the lungs. What makes the process easier is a muscle called the diaphragm.

Diaphragmatic Breathing follows the physical way the diaphragm works

The diaphragm is a large dome shaped muscle at the bottom of the ribs that separates the body in half. The TRUE purpose of the diaphragm is to create a vacuum in the lungs to draw in air. When you inhale, the diaphragm flattens out, by dropping down towards the

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stomach, making more room for the lungs to expand. If you don’t engage the diaphragm, you are preventing the lungs from expanding to their maximum capacity. The lungs must fill with air from the bottom-up. This can only happen if the lungs have room to expand. It’s easy to tell if you are using your diaphragm when you inhale, because your stomach will expand due to the diaphragm dropping. Remember how little baby’s bellies expand? The lungs are similar to two triangles. They are larger at the bottom, and smaller at the top. Think of a vase filling up with water. When you pour the water in, the bottom fills up first. Of course, when you inhale, the air fills the lungs from the bottom up. When you allow your stomach to expand first as opposed to you upper chest, you maximize your lung expansion by making more room in the chest cavity. So what if my chest expands instead of my stomach? That’s fine if you are only

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planning on being a mediocre breather, or a mediocre singer, for that matter. That’s your choice. Chest breathing would be similar to only filling about 1/3 of the vase. When you breathe in by engaging your diaphragm, you’ll fill at least 2/3 of your lungs with air. Which type of breathing seems the better choice for sustaining long notes? Easy question.

Fill your lungs from the bottom up!

(Note: Now the belly isn’t really filling

with air, it just expands because of diaphragm contractions.) If the diaphragm helps the inhalation

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process, why do so many teachers preach, “Sing from the diaphragm?” They have been taught that the diaphragm is responsible for breath support. Are they wrong? Not totally. I believe that a lot of teachers don’t fully understand the diaphragm. The diaphragm is only partially responsible for breath support. So what part does the diaphragm play in breath support? The diaphragm’s role is handling the inhalation cycle of breathing. Breath support comes in when the diaphragm is used to slow the release of air from the lungs, by using the Inhalation Sensation. You’ll better understand this term at the end of the book when I teach you the secrets of breathing. So, what’s responsible for the exhalation cycle? The stomach muscles are the responsible parties. When you exhale, the stomach muscles will slightly tighten to force the diaphragm to return to its normal relaxed position.

Control the rate of air release by adjusting the amount of stomach muscle tension.

This tightening is more noticeable when

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singing, and in some cases, too noticeable. What I mean by this, is, too many singers incorrectly over-tighten the stomach when singing. This causes a rushed release of air, and possibly vocal strain. There is a correct way to tighten the stomach without hurting your voice. You’ll learn about that at the end of the book too. Enough about that… Let’s go back to the exhalation process. When the diaphragm starts to return to its normal position, air is released from the lungs. You can control the rate of air release by adjusting the amount of stomach muscle tension. If you’d like to know what this should feel like for a singer, take a deep breath, then pretend that you are quickly blowing out a candle flame. Did you feel your stomach tighten and relax? This is stomach muscle tension. When singing, you must learn to adjust the amount of stomach muscle tension, so as not to force the release of air from the lungs too quickly. If you incorrectly over-tighten the

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stomach muscles or push too hard, you won’t be able to sustain notes for very long. Too much breath pressure can also dry out your vocal cords and cause you to strain your voice. The tension you want to feel when singing is minute (unless you are a hard rocker). You should maintain the tense feeling in your stomach that you had when you were pretending to blow out a candle, without completely locking your stomach.

How can you tell if your muscles are too tight?

So how do I know if my stomach muscles are too tight? Try this little experiment. Put your hand on your stomach and grunt. Did you feel your stomach muscles and throat lock? This is way too tight for singing, unless you know how to do it properly. NEVER lock your stomach muscles, like grunting, when you sing. Whenever you grunt, you also tighten and lock up the vocal cords. This can be vocally damaging. When you are singing, you should have a slight tension in the stomach. But if someone socked you in the gut, the

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air should fly right out. I hope that doesn’t happen, but you get the picture. Just remember this saying. “Firm but Flexible.” The stomach muscles should feel firm, but should be flexible to touch. Maximum Breath Potential Okay, what have we learned so far about the breathing process? You open your mouth and inhale. Your diaphragm should drop, which causes the stomach to bulge out. This makes room for the lungs to expand, while creating a vacuum in the lungs to draw in air. Then, when you sing, maintain that “firm but flexible” tension in the stomach muscles. I’m assuming that you will now be faithfully practicing diaphragmatic breathing. It’s simple. Inhale. Expand the belly, and keep the shoulders down. I know that at first it seems difficult to get used to breathing like this all of the time, but it gets easier. How else are you going to completely fill up the lungs? Oh, wait a minute, did I say completely? I thought that I said diaphragmatic

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breathing only fills up 2/3 of the lungs? All right, you caught me. There is another way to breathe that allows you to COMPLETELY fill up the lungs if you wish to do so. It’s called using your Maximum Breath Potential. The best way that I have found for singers to breathe is to combine both chest and diaphragmatic breathing into one process.

Singers should combine both chest and diaphragmatic breathing into one process.

So how do I combine the two types of breathing? Let’s try another exercise. Remember the vase? I want you to let your body be a vase. When you pour water into a vase, it completely fills from the bottom-up. So now imagine that you are filling your body with air, just as if it were a vase. Take a deep breath in through your nose and allow your stomach to begin expanding. Remember, you are a vase, so I expect your back muscles and ribs to expand as well. A vase doesn’t fill up on just one side. After your stomach expands, keep filling up your vase with air. Allow your ribs to expand forward, out

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to the sides, and backward. This is the one crucial aspect of breathing that most vocal teachers fail to mention: Expand the back and ribs when you inhale. This involves the intercostals. The intercostals are muscles situated in between the ribs. The contraction of the intercostals will pull the ribs upward and outward, resulting in chest expansion. The more room you create in the chest area, the more room you are creating for lung expansion. Finally, allow your upper chest to begin expanding. I bet by the time you are finished, you’ll be full of more hot air than you’ve ever imagined!!! I can’t think of a time that I had to fill my lungs to this extent, but if I ever needed to, I most definitely could. Actually, you really don’t need a huge amount of air to sustain long notes. You should be able to sustain high, low, loud, or soft notes with the smallest amount of air. It’s all about breath control. So, then why is Maximum Breath Potential so beneficial to a singer? Because like I said, learning to sustain

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long notes is about control. If you develop your maximum inhalation and maximum exhalation, you will have developed and strengthened your breathing apparatus, to maintain total breath control. By developing your lung capacity through this type of breathing, you’ll strengthen your entire breathing mechanism. The more room you create for lung capacity, the less air you’ll need in order to sustain long notes. The stronger the lungs become, the less they have to work. It’s sort of like lifting weights. If you begin working out with 50 pounds of weight, over time you’ll gain muscle and increase your strength. You’ll eventually have to increase your weight, say, to 100 pounds. Now, 50 pounds is suddenly easier, right?

Develop maximum inhalation and maximum exhalation.

So in conclusion, if you want to become an ultimate breathing machine, you must first learn to breathe properly. This means switching your breathing patterns from chest breathing to diaphragmatic breathing. And how do you do this? By learning to

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engage the diaphragm and intercostals to expand your belly and back muscles. This type of breathing should become a way of life for you. I can’t say it any simpler; CHANGE THE WAY YOU BREATHE. Period!!! The next step is to expand your lung capacity by developing your Maximum Breath Potential. Do I need to repeat myself? Expand the stomach, back, ribs, and finally, expand the chest. This is maximum inhalation. Nuff said. Finally, you must learn how to control the breath flow, or in other words the rate of air release from the lungs, also known as maximum exhalation. So how am I going to accomplish this, you ask? Don’t worry. I’ve got you covered. The following exercises will show you how.

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The Routine… Before we begin the exercises, I suggest that you purchase a stopwatch for tracking your time. You can purchase one from any sports store or a family shopping store like K-Mart. Stopwatches vary in price from $10.00-$100.00. You don’t need anything fancy, a basic stopwatch will do. You’ll be writing down your sustain times to keep track of your progress. If you are a computer nerd, like me, you can also use the Vendera Digital Vocal Coach. It has everything you’d ever need for vocal training- stopwatch, tuner, metronome, volume meter, tone generator, vocal scale generator, digital recorder…Yes, I am shamelessly promoting one of my other products, haha.

Purchase a stopwatch for tracking your time

The following exercises should be followed in order. They were designed to develop correct breathing technique in three steps. The first step is to teach you how to breathe properly. The second step is to strengthen the diaphragm, stomach, back muscles, and lungs. 23

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The third step is to develop breath control and increase your release time. Before we get started, I want you to grab a piece of paper and write down the names of the following exercises: Abdominal Release #1Abdominal Release #2Breath Capacity #1Breath Capacity #2Breath Release #1Breath Release #2Sustain #1Sustain #2Sustain #3The reason I had you write down the names of the exercises, is because I want you to begin keeping a journal of your daily progress, so that you can follow how well you are developing. Each week, I want you to review your “breathing journal” to decide which areas need improving and which areas are developing at a steady rate. If you practice the series faithfully for at least three months, you’ll be ready for the breathing Olympics!

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So are you ready to get started? Here we go!

Abdominal Release #1 The first exercise in this series will strengthen the abdominal and intercostals, while focusing on developing your Maximum Breath Potential. In The Basics, I explained to you how you must maintain a tensing in the stomach muscles as if you were blowing out a candle. This exercise focuses on that same feeling by hissing. By hissing the air out, you’ll strengthen the abdominal muscles. Start by taking a deep breath in through the nose. Remember to breathe into your belly first. (Remember, this is just a visual. The air isn’t really going into the stomach.) Make sure to fill the vase from the bottom up. Don’t forget to expand the ribs by engaging the intercostals. Now begin to hiss, like a sustained “sssss”. Set your stopwatch and begin to hiss at a steady, controlled rate.

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There will come a point when your stomach muscles begin to burn. It will feel uncomfortable and a little funny, like you aren’t in control of your stomach. Try to hang on. It’s going to be very tempting to give up and inhale, but don’t do it. Just think; the longer you are able to hang on, the closer you are coming to sustaining notes for long periods of time. You are developing stomach muscle control. Abdominal Release #1 Example The tricky part is keeping the ribs expanded outward for as long as you can. Remember, this exercise is to help strengthen the intercostals as well. If you keep the ribs expanded while you release your air supply, you’ll maintain a larger cavity in the chest, which in turn, slows the air release rate. Your abdominal muscles will basically be fighting your intercostals for control. Your abdominal muscles will want to push in, while your intercostals want to let the ribs collapse when they should stay expanded. Don’t let your abs win!

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You are teaching the abdominal and intercostals a muscle memory pattern, or as I prefer to say, you are teaching them patience. They are learning to release breath at a controlled rate. The burning sensation will eventually pass as you strengthen the stomach muscles. Don’t get discouraged if you can’t hold out very long. Ten seconds is fine for your first time. I want you to write down your time on your chart. I’ll pretend that I’m doing the process with you for my very first time. I’ll use my original progress sheet. My first time, I was able to hang on for thirty-one seconds, but I had already been singing for some time. So, I’ll write down the following: Abdominal Release #1- 31 seconds

Abdominal Release #2 Another exercise for strengthening the stomach muscles is to repetitively force your air supply to release on a single breath until you are completely empty. This will tighten and strengthen both the stomach muscles and the lungs.

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Start by breathing in through your nose and then completely exhaling by hissing all of the air out. This isn’t a slow sustained hiss. I want you to forcefully hiss the air out. This shouldn’t take any longer than one second. Hold this empty feeling for about one second then forcefully exhale again. Exhale at onesecond intervals, as many times as you can, on one breath. Abdominal Release #2 Example Why should I put so much emphasis on developing the abdominal muscles if I’m trying to decrease stomach muscle tension? Because, typically, even though you don’t need a lot of stomach muscle pressure for singing, a strong set of abs will help you to control “over-tensing” your stomach. One of the main reasons for vocal strain and the inability to sustain notes is incorrectly “overtensing” the stomach muscles. (I’ll eventually teach you how to correctly tighten your stomach muscles for more power. So a strong set of abs is definitely a benefit.)

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One might think, “My stomach muscles are too strong, that’s why I push so hard.” That’s not true. That’s actually a sign of weak stomach muscles and/or an untrained breather. How many times were you able to exhale? I bet that you learned that you have more breath capacity than you thought. The lungs aren’t used to being emptied to such an extreme. There is usually a tiny bit of air left in the bottom. When you do this exercise, you will release that last bit of stale air trapped in your lungs, which will allow you to inhale a full fresh breath. Trust me, fresh air is a body benefit! Again, the main purpose of this exercise is to strengthen the stomach muscles and lungs. Now I want you to write down how many times you were able to repeat the process. I am going to write down that I was able to release and hold two times: Abdominal Release #2- 2X

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Breath Capacity #1 If you want to learn how to sustain longer notes you must learn to control the release of your breath capacity. The last two exercises strengthened the intercostals, abdominal (stomach) muscles, and lungs, while giving you the chance to practice developing your Maximum Breath Potential. This exercise works with the lungs, developing your breath capacity. The longer you can hold your breath, the more comfortable it will be to release air at a slow, controlled rate, without feeling like you are suffocating. So, start by taking a deep belly breath in through your nose and then hold. Don’t forget to fill your lungs from the bottom up. Keep your ribs expanded!!! Set your stopwatch and hold, hold, hold. How long can you hold your breath? Remember, the longer you can hold your breath, the closer you are coming to reaching your breathing goals. You’ll get that same muscle burn feeling

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in the chest and stomach as you did in the first exercise. That’s great! You know it’s working. Hold your breath as long as you can. Write down your time on your chart. I was able to hold my breath for forty-four seconds. Wow! That’s a great start. So I’ll write down the following: Breath Capacity #1- 44 seconds

Breath Capacity #2 This time we are going to do the reverse by completely exhaling, then holding our breath. Not only is it beneficial to increase the time you can hold your breath, it is equally important to increase the time you can hold without any breath. Why? Because, this will get you used to the uneasy feeling of slow breath release. In the next few exercises, we are going to work on developing your breath control, or breath release. You must strengthen the lungs for both full capacity and no capacity. This way, you will feel comfortable when slowing

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down the release rate from the lungs. It feels a lot different holding absolutely no breath as opposed to holding a full breath. As you release your air supply when singing, you get closer and closer to an empty set of lungs. This is when most singers begin to feel uncomfortable and generally let go; even with over half their air supply still left in the lungs. If you strengthen the lungs and develop a tolerance for the uncomfortable feeling of an empty set of lungs, you’ll have a better chance of holding on, instead of letting go. So, get ready to set your stopwatch. Now exhale and hold as long as you can. I know it’s burning and feels pretty uncomfortable, but you are tougher than that. Don’t give up… Congratulations… you did it!!! Don’t you feel good about yourself? I made it for twenty-five seconds. So while you write down your time, I’ll write down mine:

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Breath Capacity #2- 25 seconds

Breath Release #1 The purpose of The Ultimate Breathing Workout is to develop your maximum breathing potential. The only way to develop this potential to its fullest is by learning how to control breath release by sustaining notes. In the first exercise, Abdominal Release #1, you hissed, which was a non-vocal exercise. What I mean by non-vocal, you weren’t making any sound with the vocal cords. Talking and singing changes everything, as far as breathing is concerned. You are now involving the vocal cords, which resist the air release from the lungs, by coming together. When you hiss, there is no vocal cord resistance to slow down the release. I know what you are thinking. “If the vocal cords resist the flow of air, then I should be able to hold out notes longer than I can hiss.” Although this sounds like a logical

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argument, this isn’t necessarily so. When you are hissing, you learn to control the airflow release at a constant rate by adjusting intercostals, diaphragmatic, and stomach muscle pressure, while using the mouth as a pressure release valve. It’s basically muscle memory. When you sing, you are involving the work of various vocal muscles and different mouth positions by singing vowels and consonants, which will cause you to lose your breath at variable rates. When you sing, you’ll be vocalizing, so it only makes sense to practice sustaining vocalized sounds. Again, hissing is a controlled release. When you sing, you are involving consonants and vowels. The different mouth positions from vowels and consonants allow for more air to escape than a steady hiss. Plus you are working the vocal muscles, which remain relaxed when hissing. So, for this exercise, I want you to count out loud to ten as many times as possible. Each time you reach ten, start over again,

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by beginning with the next highest number from one. For example: 1-2345678910, 2-2345678910, 3-2345678910, 4-2345678910, etc… Don’t rush when you are counting. Keep it steady. A good rate would be one hundred twenty (120) beats per minute or two numbers per second. Rushing is cheating. Breath Release #1 Example Write down your progress. I made it through four sets of ten, which, by the way, isn’t too bad for my first time. So I’ll write down the following: Breath Release #1- 4X

Breath Release #2 The reason I had you count was to incorporate different vowels and consonants. As you recall from the last exercise, singing requires more air control than hissing, due to vocal cord involvement and different mouth positions.

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This time, we are going to say our ABCs out loud, to cover all vowels and basic consonants. I know you aren’t in kindergarten any more, but saying your ABCs is a great way to develop breath control. Again, like the last exercise, don’t rush. Breath Release #2 Example I made it through one full alphabet and to J, my second time through. When you fill in your chart, write down how many times you made it through the alphabet, and how far you made it into the next. Since I made it through the alphabet once, and all the way to J in the second set, I’ll write down the following: Breath Release #2- 1-J

Sustain #1 In the Breath Release exercises, we worked on increasing our sustain time. The first exercise in the program worked with controlled breath release through hissing.

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The breath release exercises helped to develop breath release by “talking” your way through the alphabet and counting. But you are a singer, right? So shouldn’t you be vocalizing when doing these exercises? Well, you are absolutely right. At this point in the program, it’s time to start “vocalizing” (singing) while performing the exercises. Since the whole point of this program is to develop breath control and increase sustain time for singing, it only makes sense to vocalize for the last few exercises. So I want you to begin counting as high as you can while vocalizing. I want you to sustain a steady pitch while you count. I don’t expect you to sing an opera while you count to one hundred, just maintain a steady even pitch as you count. You’ll find that it is a little tougher than counting to ten over and over again while only “speaking” the numbers. Sustain #1 Example I was only able to “vocalize” my way up

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to twenty my first time. Did you beat me? I hope so! While you fill in your chart, I’ll write down the following: Sustain #1- 20

Sustain #2 I like to call this exercise the buzzing exercise because it makes your head and chest “buzz” from resonance. Begin by sustaining a steady “zzzzzzz” until you can feel your whole head buzz. When you become accustomed to the buzzing sensation, close your mouth and begin vocalizing an “mmmmmmm” sound. Set your stopwatch and sustain the “mmmmmmm” sound as long as you can. Concentrate on creating a buzzing sensation in your head. You’ll notice that your chest will possibly begin to “buzz” from the resonance as well. The purpose of the “zzzzzzz” sound was to allow you to grow accustomed to the buzzing sensation that I want you to feel

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in your teeth, mouth, chest, and head, when sustaining the “mmmmmmm” sound. I want you to focus on feeling this buzzing sensation in your teeth. The stronger the buzzing sensation you can produce, the more resonance you are producing. What’s resonance? Resonance is the production of multiple sound waves when the sound of your voice “bounces around” in the open cavities of your body. So basically, your voice reverberates inside your mouth, chest, throat, and skull, creating tons of echoes in your empty head. Haha, just teasing…About the empty head part. Actually resonance can occur throughout all of your body. You are your own reverb chamber! Did I lose you? Still not sure what reverberate means? Do you have any idea why your voice sounds so great in the shower? Because the sound waves produced by your voice are bouncing off the solid walls of the shower. This creates mini echoes of your voice (also known as

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reverberation), which in turn will make your voice sound fuller. You can internally do the same by focusing on creating these mini echoes (reverberations). Getting your body to buzz can easily reproduce these mini echoes. The more buzzing you produce, the fuller your voice will sound. The cool thing is that the more reverberations, or resonance, you learn to produce, the less breath pressure you’ll have to apply with your stomach in order to sustain a note. Resonance will make the note “float” out of you. All right, back to the exercise. Turn on your stopwatch, start your zzzzzzz’s. Then close your mouth and begin to sing “mmmmmm” for as long as you can. Concentrate on keeping the teeth buzzing regardless of pitch. If it’s a low pitch, try to get your chest buzzing as well as your teeth. When you practice on higher pitches, try to feel the buzzing in your head. You might even get a little dizzy from the buzzing in your head.

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That’s all right. This means you are doing great. Sustain #2 Example So how did you do? Don’t forget to write down your time. I’ll bet you held out longer than I did. I made it to forty seconds. So I’ll write down the following: Sustain #2- 40 seconds

Sustain #3 This last exercise is my favorite. In fact, this is what I used to do before I knew anything about breathing exercises. It is also the basis of breath control that I use for the Raise Your Voice system. This one exercise will produce dramatic results, but the whole system will make you a breathing superstar. It’s very simple. All I want you to do is sing “A”, like in “play”, for as long as you possibly can. Start on a pitch that is comfortable for your range. I don’t want you to strain. You should continue to use the pitch you have chosen for several weeks, or until you can sustain that pitch

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for at least thirty seconds. Sustain #3 Example After you have mastered your first pitch, continue working your way up the scale a half step at a time until you can hold each pitch for at least thirty seconds. So if you start on an E below Tenor C, move up to an F after you can hold the E for thirty seconds. When you can hold the F for thirty seconds, move up to an F#, and so on and so forth… When you have covered your entire range, start from the bottom again, only this time change your sustain time to forty seconds. Each time you have mastered your range, start again from the bottom with a five to ten second increase in sustain time as your new goal. Do you remember in the beginning of the book when I told you about how I am always asked about how I am able to hold out notes for long periods at a time? This exercise is basically what I am doing

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when I sustain long notes. I hold out a pitch, like a Tenor C for as long as I can, using the secrets from the next chapter. When performing live, I’ve held out notes for well over a minute. Back to the exercise: I sang an E below Tenor C for twenty-five seconds. Maybe tomorrow I’ll hit thirty seconds and move on to an F. So while you fill in your chart, I’ll write down both the note and the length that I held the note: Sustain #3- E/25 seconds

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The Secrets… Now that you have mastered the exercises, (I know you’ve been practicing day and night. Right?), I want to share with you some breathing secrets that will make you a breathing superstar. Okay, maybe I lied. If you’ve read Raise Your Voice, then you know the #1 major secret. I can sum it up in one sentence: Pretend you are inhaling (breathing in) while you are singing (breathing out). I call this the Inhalation Sensation. Before I explain this secret in detail, I have a few others that I need to discuss with you first. These secrets will prove that breathing is an essential part of singing. Most of these secrets really aren’t secrets at all. They are just common sense breath technique applications that few people know about. We have covered several of these secrets throughout the book, but I believe that they should be reviewed.

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You should begin applying these secrets to your exercise routine and using them each and every time you breathe, talk, and sing. Diaphragmatic (Belly) Breathing is the First Secret! Years ago, before I developed my vocal range, I was singing in a cover band, and I was having trouble singing the Kansas tune “Carry On, Wayward Son”. The only way I was able to sing the song without straining was by practicing a new breathing technique I had learned that required me to expand my stomach. Even though I didn’t full understand “diaphragmatic breathing” at that time, I was still reaping the benefits of correct breath technique. Wow. Imagine that. Proper breath technique can eliminate vocal strain. If you aren’t pushing as hard and wasting away your air supply, your vocal cords won’t be over-stressed, and your voice will benefit.

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Although diaphragmatic (belly breathing) is the first secret, it doesn’t stop there. The Second Secret is Keeping Your Ribs Expanded! If you keep the ribs expanded as you sing and release your breath, you help to maintain an open chest cavity, and keep the diaphragm down. This gives your lungs “room to breathe”, so to speak, and slows breath release. An expanded ribcage will give you a bigger sound and will minimize vocal stress. An expanded belly helped me to defeat Kansas, but, by keeping my ribs expanded, I was able to conquer Judas Priest. Let’s Combine the First Two Secrets Together for the Third Secret: Maximum Breath Potential! This type of breathing combines both chest and diaphragmatic breathing, for full lung capacity. Expand your ribs, fill your lungs from the bottom up, expanding your stomach, back, then chest, and… keep your ribs expanded!!!

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Remember; you don’t need to take a huge breath to sustain long notes. It’s about controlling the release of the breath. The next few secrets will help. The Fourth Secret is the Creation of Resonance Resonance plays a major role in sound quality, vocal freedom, and breath control. The important point is to maintain the sensation of buzzing in your teeth when you sing. If you can do this while you sing, you will be able to create resonance within the body and the notes will float out with little breath effort. This doesn’t undermine the importance of chest and head resonance. The buzzing sensation in the teeth is a sure sign that both head and chest resonance are present. If you want to know more about resonance and resonance production, check out my book Raise Your Voice. The Fifth Secret is Learning to Correctly Inhale and Exhale It might sound silly, but many people do not know how to inhale and exhale

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properly. The majority of vocal problems stem from inhalation and exhalation. When you inhale, you want to maintain a quiet breath. You can accomplish this by keeping the vocal cords wide open. If you hear any breathiness as you inhale, you aren’t opening the vocal cords wide. You are keeping them together, which is drying them out. The cords must stay lubricated to vibrate properly. Unnecessarily drying out the vocal cords only endangers vocal health. The best way for singers to inhale the breath is to keep the ribs expanded before you inhale, and take what I call a micro-quiet breath. This is a very quick breath that you should barely be able to hear. Inhalation Example Exhaling can be as damaging as inhaling. If you sound breathy, or like Darth Vader, when you exhale, you can be sure that you are doing it wrong. Focus on eliminating this habit.

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Exhalation Example Okay… back to the Inhalation Sensation… This is the Sixth and #1 Major Secret to Sustaining Notes and Gaining Breath Control. When I first discovered this technique (on my own) I was utilizing my Maximum Breath Potential. When I would sing, I would expand my ribs and take a deep belly breath. I was also working on resonance by keeping my teeth buzzing. When I first discovered the Inhalation Sensation, I was able to double my sustain time with ease, that very same day!!! I really don’t even remember how it happened, but it worked wonders!!! I was performing live, and I remember having to hold out a really long note. I was about halfway through the note and felt like I was almost out of breath. I thought I was going to have to give up, and I wasn’t going to be able to hold out any longer… All of a sudden my whole

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mental and vocal setup switched gears… Suddenly, it felt like I was breathing in the note as I was singing. I wasn’t exhaling anymore, and the note was floating right out of me, effortlessly! So, I kept holding and holding and holding the note out until everyone, including myself, was in a state of disbelief. Not only did I hold the note as long as I needed, I kept going!!! I held the note out twice as long as I had to. From that day on I have applied the Inhalation Sensation technique to my breathing exercises and my vocal performances. I believe the reason the Inhalation Sensation works is because when you visualize inhaling as opposed to exhaling, you actually release any incorrect stomach muscle tension (like when grunting) that is applied up towards the diaphragm. This helps to keep the diaphragm down and allows the diaphragm to relax at a natural rate, which in turn slows the air release from the lungs. This technique is an added bonus and an aid to your

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Maximum Breath Potential. Start applying the Inhalation Sensation to all of your breathing exercises. Make sure to make a note in your diary on the day you started using this technique. I bet you’ll start noticing a huge difference in your sustain times almost immediately. The Last and Seventh Secret is Correctly Tightening the Stomach Muscles for Breath Control and Power This “secret” has been used by most of the big rock stars of the 80’s, and has increased range and power through a simple application of the stomach muscles… Remember when I said that you should never lock the stomach or throat? This is still totally true. But… Do you remember when I said there was a correct way to tighten the stomach? What if I told you there were a way to tighten the stomach that would actually give you more power, volume, and range, while helping to eliminate unnecessary breath

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pressure… Elizabeth Sabine is an 84-year old voice teacher from California who has one of the biggest, strongest voices ever, and, she’s no bigger than a minute! She has taught singers like Axl Rose and Michael Bolton, and was one of the best-kept secrets of the music industry. None of her huge list of clients wanted any of their vocal competition knowing what they had learned from Elizabeth. While preparing for my appearance on the Discovery Channel show MythBusters, I was having trouble breaking wine glasses with my voice, without amplification (who wouldn’t have trouble with that). Then I read Elizabeth Sabine’s book, Strengthening Your Singing Voice, and started applying her techniques. My voice seemed to become louder and stronger, if that’s possible. It gave me the extra power I needed to break the glasses, and as of right now, I have broken too many to count.

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Needless to say, I started analyzing my technique and realized that I had unconsciously been doing the same thing on high notes, but realized that by developing and focusing on this technique, I could improve my voice. I talked to a friend of mine, Jim Gillette, and he told me that he always tightened his stomach muscles this way to hit those “banshee” screams. One of my favorite singers, Josey Scott, of Saliva, told me that he always feels as if he sings from his stomach area. Elizabeth claims that volume and power should come from the diaphragm and abdominal muscles, not the vocal cords. She likens the diaphragm to a big speaker cone. If you engage the stomach muscles correctly, you create electrical energy that powers the speaker cone (diaphragm). To activate this electrical energy, all you need to do is tighten the stomach muscles by pushing straight down, just like having a bowel movement. This is the only correct way to create the electrical

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energy needed to power the diaphragm. If you tighten the stomach muscles any other way, you are doing it wrong. You cannot lock the muscles like when grunting. This will lock up the vocal cords, preventing airflow and causing vocal strain. You also should not force the stomach straight out, like in certain classical styles of teaching. Tightening up, out, or in, does not relieve excess breath pressure. Only tighten straight down!!! To properly use your diaphragm for this technique, you must keep the ribs expanded, but you should be doing this out of habit by now. This allows the diaphragm to lay down flat and wide, like a speaker cone. It helps to visualize the sound coming straight out at diaphragm level when you sing, to keep the pressure off the vocal cords. So with ribs wide, and the stomach tightened straight down, try singing out from your diaphragm and see if this method works for you. On low notes, the ribs will be expanded wide, and on

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higher notes, the ribs will come in some, and the diaphragm will rise slightly to a point. If you want more range, volume, power, or want to sing wit some grit in your voice, then you MUST push down harder. If done correctly, you can never over-do it. The downward stomach pressure helps to keep the diaphragm down and the air pressure off the vocal cords. The tighter you push down, the more electricity you produce, the less air on the cords, the louder, stronger, and higher you will be able to sing. Elizabeth also says that you must be passionate about your singing, almost crying out emotion as you sing every line. Do you remember when you were a child and you shouted, “I DON”T WANT TO GO TO SCHOOL!!!” Do you remember that intensity and passion in your voice? I bet you never lost your voice at that tender age. That’s because you tightened your stomach and shouted with passion and conviction. If you

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intend to be a great singer, you must be passionate when you sing. Lajon Witherspoon of Sevendust once told me that you have to sing with passion and conviction, if you want to make it as a singer. Shouting Demonstration Elizabeth’s book, Strengthening Your Singing Voice, is a must-read. To learn more about Elizabeth Sabine and a more detailed description of her teaching methods, check out her website at www.elizabethsabine.net. So once more I’ll explain the entire breathing process: 1. With the ribs expanded, breathe in through your nose, filling the lungs from the bottom up. This is your Maximum Breath Potential. 2. When you begin to sing, keep your ribs expanded! The intercostals will oppose the stomach muscles to control the air release rate from the lungs. Don’t

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forget to keep tension in your stomach muscles, like blowing out a candle. It’s an opposing process. And, if you want more power, tighten the stomach muscles straight down, like going to the bathroom. 3. Keep your teeth buzzing! Resonance production in the body helps the notes “float” out effortlessly. You should develop resonance within the whole body, not just the teeth. For a more detailed explanation of full resonance expansion, read Raise Your Voice. You can purchase Raise Your Voice at the website www.raiseyourvoicebook.com. 4. Utilize the Inhalation Sensation. Just pretend that you are inhaling, instead of exhaling when you sing. This will make the job of the diaphragm and intercostals easier. You’ll double your sustain time!!! 5. Singing with passion and conviction, will give you a

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stronger voice, with less of a chance of losing your voice. When you sing with emotion, you’ll tighten the stomach muscles down and take the strain of excess breath pressure off your vocal cords. That’s it!!! You now possess the knowledge that will enable you to compete in the Breathing Olympics. It’s up to you now. Only you can make this happen. Try this program for at least one month. If you try this program for three months, you’ll be amazing. In the next chapter, I’ll share with you my actual “breathing diary” from the conception of this program over fourteen years ago.

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The Chart… 12/03 1991

A. R.# 1

A. R. #2

B.C .#1

B.C. #2

B R. #1

B.R .#2

S. #1

S.# 2

S.#3

12/03

31 sec

2X

44 sec

25 sec

4X

1-J

20

40 sec

E/25 sec

12/04

32 sec

2X

45 sec

26 sec

4X

1-L

21

40 sec

E/25 sec

12/05

35 sec

2X

46 sec

27 sec

4X

1-M

22

40 sec

E/27 sec

12/06

36 sec

3X

47 sec

28 sec

4X

1-N

23

41 sec

E/28 sec

12/07

37 sec

3X

48 sec

29 sec

5X

1-T

23

42 sec

E/29 sec

12/08

38 sec

3X

49 sec

30 sec

5X

1-U

24

43 sec

E/30 sec

12/09

39 sec

3X

50 sec

31 sec

5X

1-V

25

43 sec

F/14 sec

12/10

41 sec

3X

55 sec

32 sec

5X

2

27

45 sec

F/15 sec

12/11

41 sec

3X

56 sec

33 sec

5X

2

30

45 sec

F/17 sec

12/12

42 sec

3X

57 sec

34 sec

6X

2-D

31

45 sec

F/20 sec

12/13

43 sec

3X

58 sec

35 sec

6X

2-E

32

47 sec

F/22 sec

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12/14

44 sec

4X

1 mi n

36 sec

6X

2-E

35

47 sec

F/23 sec

12/15

45 sec

4X

1 mi n

37 sec

6X

2-G

38

48 sec

F/24 sec

12/16

47 sec

4X

61 sec

38 sec

7X

2-H

40

49 sec

F/25 sec

12/17

48 sec

4X

62 sec

39 sec

7X

2-I

41

50 sec

F/25 sec

12/18

49 sec

4X

63 sec

40 sec

7X

2-J

42

51 sec

F/28 sec

12/19

50 sec

4X

67 sec

41 sec

7X

2-K

44

52 sec

F/30 sec

12/20

51 sec

4X

68 sec

42 sec

7X

2-N

45

52 sec

F#/1 6 sec

12/21

52 sec

4X

68 sec

43 sec

7X

2-O

47

54 sec

F#/1 6 sec

12/22

54 sec

4X

70 sec

44 sec

8X

2-Q

52

55 sec

F#/1 9 sec

12/23

55 sec

5X

70 sec

47 sec

8X

2-S

55

56 sec

F#/2 0 sec

12/24

56 sec

5X

70 sec

48 sec

8X

2-U

58

57 sec

F#/2 0 sec

12/25

57 sec

5X

74 sec

51 sec

8X

2W

59

1 min

F#/2 2 sec

12/26

58 sec

5X

75 sec

54 sec

8X

2-Y

64

61 sec

F#/2 3 sec

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12/27

59 sec

5X

77 sec

56 sec

9X

3

66

62 sec

F#/2 4 sec

12/28

59 sec

5X

80 sec

58 sec

9X

3

70

63 sec

F#/2 5 sec

12/29

64 sec

5X

82 sec

1 min

9X

3-A

70

64 sec

F#/2 5 sec

12/30

67 sec

5X

85 sec

1 min

11 X

3-B

74

65 sec

F#/2 5 sec

On the previous pages, I presented to you a four-week chart of my actual “breathing diary” from the conception of this unique program back in 1990. It’s pretty simple to follow. You should know how to fill out the chart, if you were keeping track on a sheet of paper of how well you were doing as we learned the exercises. A chart just makes it simpler to track your progress. When you make your chart, be sure to fill out the date you began the program in the top left corner, like I did. Keep track of the date every day.

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If you review the chart, you’ll notice that I steadily improved every week. Although my gains were not dramatic, I did continue increasing my sustain times. I would strive each day to increase all the exercises by at least one second, one number, or one letter. I knew that if I could reach forty seconds one day, then I should be able to reach forty-one seconds the next. If I didn’t reach my goal, I didn’t get discouraged. You’ll find that in the beginning, you increase your numbers by leaps and bounds. Then, you might go through a slow process of increasing sustain times. This is normal. If you want to reach your breathing potential, you should do this program for three months straight as I did. I could have put my three-month chart in the book, but I figured four weeks would be more than enough to explain the program. I still want you to aim for three months. Strive for at least one more second, number, or letter each day.

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To be an excellent singer takes more than correct breath technique. You need guidance in improving your singing voice. Some great books and methods are Jim Gillette’s Vocal Power DVD, Thomas Appell’s, Can You Sing a High C Without Straining, Brett Manning’s Singing Success Program, Melissa Cross’ Zen of Screaming DVDs, Robert Lunte’s The Five Pillars of Screaming, Mark Baxter’s Rock-n-Roll Singer’s Survival Manual, Elizabeth Sabine’s Strengthening Your Singing Voice, and of course, my book, Raise Your Voice. You can learn about these teachers and purchase their products through www.raiseyourvoicebook.com or www.thevoiceconnection.com. So how did I do at the end of three months compared to my first day?

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First Day Abdominal Release #1- 31 seconds Abdominal Release #2- 2X Breath Capacity #1- 44 seconds Breath Capacity #2- 25 seconds Breath Release #1- 4X Breath Release #2- 1-J Sustain #1- 20 Sustain #2- 40 seconds Sustain #3- E/25 seconds

Four Weeks Abdominal Release #1- 67 seconds Abdominal Release #2- 5X Breath Capacity #1- 85 seconds Breath Capacity #2- 1 minute Breath Release #1- 11X Breath Release #2- 3-B Sustain #1- 74 Sustain #2- 65 seconds Sustain #3- F#/25 seconds

Three Months Abdominal Release #1- 122 seconds Abdominal Release #2- 12X Breath Capacity #1- 4 minutes-15 seconds Breath Capacity #2- 3 minutes Breath Release #1- 21x

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Breath Release #2- 7-R Sustain #1-154 Sustain #2- 1 minute-22 seconds Sustain #3- G/1 minute-10 seconds This is a major improvement over my first time practicing this breathing program. But, at the time, I was a fanatic about practicing. You have got to dedicate yourself to the improvement process if you want to see results as dramatic as these. I give to you the same luck and encouragement that my teachers gave me. You can make your own luck by practicing!!! So, what are you waiting for? I’m done jabbering. Get busy!!!!!!!

ONE LAST BREATH BUILDER Whoops, wait a minute. I thought I was done jabbering. Guess I was wrong. Here is a “breathing bonus” for all of you air addicts. The following exercises are NOT part of the regular routine. They are however an excellent way to

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build the stomach, diaphragmatic and intercostal muscles as well as strengthen the lungs tremendously. I learned this trick when hurriedly trying to fill up an air mattress as fast as I could. So now that you kind of have an idea of where I am going, let me get you started. BREATH BUILDER #1 There are three different exercises in the breath builder series and the first one starts with a simple balloon. Get a nice size balloon, one that will really expand and simply blow it up repeatedly. Try for as many times as you can. If you want to make it exciting, volunteer to blow up several hundred balloons for a party. Try this exercise at least three days a week for a few weeks. No I don’t mean keep volunteering for balloon blowing at parties three times a week. That was just a one-time suggestion. Strive to blow up one balloon as many times as you can in one session, or blow up as many balloons as you can and giving them to you kid brother or sister to play with. In a couple of weeks when you feel you’ve mastered this

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exercise and are ready for a better challenge, move on to the second exercise. BREATH BUILDER #2 Well, I hope it is summer while you are reading this because you are going to need a small blowup floating raft; the kind for pool lounging, and it might be hard to find one in the winter…unless you live in Florida. Once you have your raft, set your stopwatch and see just how fast you can completely blow it up. If you’ve been doing your regular daily routine, I bet you’ll surprise yourself at how fast you can accomplish this task. Once you’ve become accustomed to this exercise and feel you’ve reached your top time, move on to the third exercise. BREATH BUILDER #3 Ah, last but not least, the initial reason a light went off in my head to create this series of exercises. I was visiting a close friend of mine and had to blow up an air mattress. Luckily for me, I didn’t have an

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air pump. Yeah most people would have griped and complained but I took it as a personal challenge to prove just how strong my lungs were. Well, I impressed my friend (you know who you are brother) and myself and blew it up in under a half hour. I believe it was closer to under twenty minutes. So, for this exercise you’ll need to purchase one of those blue full size air mattresses. Set your timer and go to work. Your goal is to beat me. I’m going to stick to my “right under twenty minutes” story to make you work harder. At this point, I’d like to offer a word of caution. If you get light headed, stop and take a break. Beating me isn’t worth passing out. You are taking in a lot more oxygen then you are used to, unless of course you do a lot of cardio regularly. Be patient. The more you do this last exercise, the stronger your lungs, intercostals, stomach muscles and diaphragm will become and it will become easier and quicker for you to do. I only suggest trying this exercise once a week.

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The Breath Builder series is an exercise supplement to your regular routine and will dramatically increase your regular routine gains. This is not a series you need to adopt as part of your regular routine. You should finish up this series within a few months and maybe try it again in six months to a year if you feel the need. If it were me though, I’d write down my gains ever time I did these exercises and keep track of my progress. So now I guess it IS really time to get busy. Have fun with Ultimate Breathing Workout and don’t to stop by The Voice Connection Message Forum and tell us about your results. Now if you don’t mind, I’ve got an air mattress to blow up.

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The End… I knew this part would eventually come. I hope that you have enjoyed The Ultimate Breathing Workout, and I hope that you have learned a lot about your breathing habits. If you weren’t a champion breather, I believe that you are now. The Ultimate Breathing Workout is the perfect companion manual to my first book, Raise Your Voice, the owner’s manual for the voice. If you practice the techniques from both books you’ll be able to hit notes as high and hold notes as long as this singer. Wow!!! That was pretty amazing!!! This incredible scream was from a song called Machine Gunn Eddie. The singer was none other than my friend Jim Gillette of Nitro. Of course, Jim would say that if you are going to hit notes that high and hold em’ for that long, you’d better practice, practice, practice. So, get busy!!!

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About The Author…

Jaime Vendera is a vocal teacher who has studied voice for more than seventeen years. He started singing at the age of three when he discovered the power that the voice gave him to become the center of attention. Jaime’s early life was enriched in the fine arts, including instrumental studies of saxophone, flute, harmonica and piano, singing in the school choir, and performing in theatrical arts. Singing professionally since the age of sixteen, Jaime didn’t begin vocal study until the age of eighteen when he felt he

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could go no further without fully understanding the concepts of voice. After a year of vocal study under the guidance of vocal instructor Shirley Crothers, at Shawnee State University in Ohio, Jaime moved to Hollywood, California to study voice at the Vocal Institute of Technology at the Musician’s Institute. Still yearning for a deeper understanding of voice, he studied vocal and health related subjects such as vocal and breathing technique, yoga, reflexology, herbology, and hypnosis. Still yearning for more, he sought out the advice of professionals such as Jim Gillette, Tony Harnell, Mark Slaughter and vocal coaches such as, Thomas Appell, James Carson, Elizabeth Sabine, and Brett Manning. After extensive years of training and studying voice, Jaime has authored several books, training CDs, vocal health products and a software program for singers.

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With the aid and guidance of one of Jaime’s top vocal coaches, Jim Gillette, Jaime perfected the art of shattering glass with his voice, and has appeared on Good Morning America, as a guest of Jamie Hyneman and Adam Savage of the Discovery Channel hit, MythBusters, shattering a wine glass, with the aid of an amplifier. This led to his appearance on MythBusters, confirming that a singer can shatter a glass with the un-amplified voice, leading to a multitude of television shows worldwide. Jaime is officially the first documented singer to shatter a glass by voice alone, on film. Jaime is currently and continually working on methods to improve vocal production including new books, DVDs, voice related products and seminars with Tony Harnell. Jaime, along with his wife, Diane, and his son, Ryan, currently resides in Ohio.

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Thanks… I would like to thank God for continually filling my mind with wonderful product, software and book ideas. I can’t turn it off and that’s not a bad thing. To my loving wife Diane, this book didn’t take as long as the last. To my son Ryan: The best bass player in the world. To the three men who made it possible for me to regain my vocal chops after surgery: Tim Odle, Greg Seymour, and Joe Conley. To Neil Tarvin for all of your help and guidance. To Molly Burnside for putting up with me. To all of the singer’s I have interviewed thus far at The Voice Connection; Terry Illous, Tony Harnell, Brent Smith, Josey Scott, Lajon Witherspoon, Wil Martin, Erik Rogers, and Elizabeth Sabine. Thanks for your vocal input. Extra special thanks to Jim Gillette; Where do I start…Thank you so much for teaching me to shatter glass, getting me on national television, allowing me to use a sound clip of your incredible voice for this book, calling me up and playing all of your new material over the phone, believing in me and the website, and most of all…being a great friend! To Pam Anders: You’ve showed 79

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me that breathing can be a real trip…Literally!!! Finally, to all of my Voice Connection fans and Raise Your Voice students: You are the reason that I keep exploring the concepts of voice. God bless, Jaime Vendera

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